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Cape-To-Tehran Digital-Version-5Bd9 CAPE to TEHRAN CAPE to TEHRAN Acknowledgments I would like to thank many people for their valuable involvement in this project: My sincere gratitude goes to all participant artists who believed in this project and contribute their work; my PhD supervisor, Elizabeth Gunter, for her endless support; and Frans Badenhorst for wonderful conversations and readings. Thank you to Igssan Martin, Nicole Hopper and Heinrich Groenewald for their time and positivity. I’m grateful for the production assistance of Majid Saffari, for the production of carpets, Wim Legrand, from Black River Studio for technical help with the silkscreen printing, and Stanely Amon for construction of the frames and canvases. Thank you to Alice Womersley, for wonderful conversations and writing; Quanta Gauld for her considered edits of the text and writing; and Christine Cronje for designing the exhibition catalogue. Thanks to my friends Michaela Limberis, Gaelen Pinnock, Madeline Groenewald, Kathy Robins, Golnaz Baharnouri and Niloufar Moghadam for your friendship and support. CAPE I would also like to thank my family for their love, support and encouragement. to Ghazal Mehraban, Reza Mehraban, Christopher Reyneke, Dorothy Reyneke, Johan Reyneke and my beloved Shahryar Reyneke, your contributions have been invaluable. To my mom and dad, Narges Kiani and Khosrow Mehraban, words cannot express my gratitude; I dedicate this work to you. TEHRAN Re-imaging and re-imagining personal history in post-Apartheid South Africa and post-revolutionary Iran Cape to Tehran: Re-imaging and re-imagining personal history in post-Apartheid South Africa and post-revolutionary Iran Published to conincide with the exhibition: Cape to Tehran: Re-imaging and re-imagining personal history in post-Apartheid South Africa and post-revolutionary Iran Gallery MOMO, Cape Town 13 February - 30 March Curated by Sepideh Mehraban Forword Sepideh Mehraban Text Quanta Gauld Alice Womersley Design and layout Christine Cronjé Proofreading Quanta Gauld Installation images Photo credits Courtesy of Gallery MOMO Photographer Kleinjan Groenewald Page 12 Black Hand/ Rory Emmett collaboration, Occupation (New Jerusalem) (2018) Cover image Sepideh Mehraban, Nation of Traditions (2017) © Sepideh Mehraban, 2018 All rights reserved. Except for legitimate excerpts customary in reviews or scholarly publications, no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior consent of the publisher. Curated by Sepideh Mehraban contents Forword: Cape to Tehran 8 Re-imaging and re-imagining personal history in post-Apartheid South Africa and post-revolutionary Iran Sepideh Mehraban 10 Disrupting Division Cape to Tehran Quanta Gauld Artists Kamran Adl IR 14 Shagha Ariannia IR 16 Black Hand IR 18 Patrick Bongoy CD 20 Stephané Conradie ZA 22 Rory Emmett ZA 26 Thulile Gamedze ZA 28 Svea Josephy ZA 30 Francois Knoetze ZA 32 Wonder Marthinus ZA 34 Emmanuel de Montbron FR 38 Sethembile Msezane ZA 40 Neda Razavipour IR 42 Kathy Robins ZA 44 Roderick Sauls ZA 46 Berni Searle ZA 50 Rowan Smith ZA 52 Jo Voysey ZA 54 Sepideh Mehraban IR 58 When the past has been embroidered, can we paint history? 60 Alice Womersley Palimpsest series 65 Cape to Tehran Re-imaging and re-imagining personal history in post-Apartheid South Africa and post-revolutionary Iran Sepideh Mehraban In this empire, the art of cartography was taken to such a peak Living in South Africa over the past five years has made me conscious The recent student movements in South Africa, such as Rhodes exhibition to attempt reveal what we have inherited from the political of perfection that the map of a single province took up an entire of the many similarities between this country’s current political Must Fall, Fees Must Fall and Open Stellenbosch, are indicators of transformation that has allegedly occurred in our countries. Curating city and the map of the empire, an entire province. In time, turmoil and that of my homeland, Iran. Both of these countries have social and political changes in the country. These protests influenced my body of work in relation to selected artists who also deal with socio- these oversize maps outlived their usefulness and the college of complex histories marked by trauma. I am learning the personal and governmental action and university fees were allegedly frozen after political matters of their homeland opens a space for conversations cartographers drew a map of the empire equal in format to the public histories of South African’s through artists who process that in the Fees Must Fall campaign in 2015. However, there are still protests surrounding our personal experiences. empire itself, coinciding with it point by point. The following their art. occurring as students are demanding a long-term resolution from the generations, less obsessed with the study of cartography, decided In 1948, the National Party was elected to power in South Africa, South African government. There have also been student uprisings Endnotes that this overblown map was useless and somewhat impiously which saw a strengthening of the racial segregation initiated under on the other side of the hemisphere, in Iran, after the 2009 controlled 1 Iran’s presidential elections take place every four years and only two major th 1 abandoned it to the tender mercies of the sun and seasons. There Dutch and British colonial rule in the 14 century. This resulted in the presidential election that saw Mahmoud Ahmadinejad come into political groups are allowed to nominate candidates. The final candidates are still some remains of this map in the western desert, though legally-institutionalised, racial segregation that defined the Apartheid power. This outcome of this election was pre-determined by the presented to the public are selected after they have been vetted by the government – it is a very strictly controlled process. in very poor shape, the abode of beasts and beggars. No other system. Despite the legal fall of Apartheid in 1994, the aftereffects of state, a situation that led to protestors being violently apprehended traces of the geographical disciplines are to be seen throughout these discriminatory laws are still present in post-Apartheid South by the Iranian government. In both countries, the student uprisings 2 Here, I specifically refer to Iranian national media and I intend ‘national media’ the land. Africa. and protests were characterised by trauma towards and upheaval of to denote state-controlled publications. I am aware that mass media is complex and multi-dimensional, constituting digital media (internet and mobile mass Jorge Luis Borges, A Universal History of Infamy (1946) Unlike South Africa, Iran has never been colonised by western ordinary lives. In both countries, protests are indicative of a need for communications), outdoor media (billboards and advertising), print media (books, newspapers, magazines) and public speaking. I am also aware that a robust free th political change and transformation. powers and has been ruled by a monarchy since the 6 century BC. media continues to exist in South Africa despite the government’s best efforts to Borges’ story of an imaginary empire with the exact delineation of its However, this has not lessened the effects of western interference in The disillusionment that my generation feels with the false promises gain control over public media, but I fear for its future. borders established by cartographers, makes me consider what new the governance of the country due to its rich natural resources and and oppressive rule of the Iranian government is furthered by the severe th 3 Further ties between South Africa and Iran were demonstrated on the 27 of generations have inherited from the past. Constituting part of my PhD 2 geopolitics. While the country has a 3000 year history of upheavals, measures of censorship and restrictions on Iran’s national media, to May, 2016 when iAfrica announced that the SABC would not cover violent research, the exhibition Cape to Tehran is an attempt to re-image and my focus for this project is on the more recent 1979 revolution. The the extent that coverage of the uprisings was completely absent from protests. The public broadcaster’s CEO, Hlaudi Motsoeneng, said, “It is re-imagine personal history in post-Apartheid South Africa and post- regrettable that these actions are disrupting many lives and as a responsible revolution of Iran in 1979 was a populist and nationalist movement the national media. The 2009 uprising in Iran was only covered by the public institution we will not assist these individuals to push their agenda that revolutionary Iran. that consisted of many different opposition groups – Marxists, Islamic independent media. This situation is mirrored in the South African seeks media attention” (iAfrica, 2016). He added that the decision was in line with the broadcaster’s mandate “[...] to educate the citizens, and we therefore The title of the exhibition references Cecil Rhodes’ uncompleted socialists, secularists and Shi’a Islamic groups. These diverse groups Broadcasting Corporation’s (SABC) recent refusal to report on student have taken this bold decision to show that violent protests are not necessary. Cape to Cairo Railway that was embarked upon during western united to overthrow the monarchy and bring about democracy; protests that are critical of the government.3 We would like to encourage citizens to protest peacefully without destroying the colonial rule in South Africa. The project was an attempt to connect however, the revolution resulted in Islamic fundamentalists taking very same institutions that are needed to restore their dignity. The SABC would Curating this exhibition is a way to relate (re-image or re-imagine) like to stress that we will continue to cover news without fear or favour. We will African colonies of the British Empire from Cape Town, South Africa to power. Instead of a democracy, a theocracy was created under the the personal experiences of people who live through political turmoil not cover people who are destroying public property.” Cairo, Egypt.
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